Ginny Carr and the Uptown Vocal Jazz Quartet recently paid proper homage to vocalese master Eddie Jefferson with the song “He Was the Cat,” from Hustlin’ For A Gig (HouseKat Records, 2012). Jefferson, along with Clarence Beeks (King Pleasure), specialized in writing lyrics for and singing the more notable jazz compositions, like “Moody’s Mood for Love” and “Parker’s Mood.” This rarefied musical form has remained dormant for many years, waiting for a new talent to pen new lyrics for old instrumentals. Enter New York City native Dorian Devins on her debut, The Procrastinator. With no shortage of guts does she enter this honored fray, seasoning a collection of standards with her lyrically applied talent to hard bop giants including trumpeters Lee Morgan and Kenny Dorham, and saxophonist Wayne Shorter.

Devins possesses a well-behaved and muscular alto voice that complements her disciplined singing style, one guided by melody in the midrange, not unlike Miles Davis trumpet vision of the ’50s and ’60s. Standards first: “Let’s Get Lost” is a naked wink at Chet Baker, sung minimalistically, sans vibrato. “I Guess I’ll Hang My Tears Out to Dry” could have easily acknowledged Dexter Gordon, with saxophonist Peter Brainin turning in a densely melodious solo. “Better Than Anything” swings as hard as any waltz can. Devin’s singing is crisp and exact and very hip. “Speak Low” is given a breezy Latin vibe where Devins deftly surfs among its waves.

The vocalese: Devin’s supplies moody lyrics to Shorter’s abstract “Momentum,” based on “Deluge,” from Juju (Blue Note, 1964), drummer Steve Johns capturing Tony Williams‘ post-bop groove. But it is the title cut, Morgan’s “The Procrastinator,” where Devins absolutely kills. Bassist Karl Kaminski introduces the piece with staccato arco strokes made Baroque by Devins’ arrangement and singing. She navigates her (and Morgan’s) crazy counterpoint through verses that avoid the anachronistic tendency to pepper the lyrics with jazz allusions. She chooses a literal interpretation of the title, spinning a tale of putting things off. The song is broken by a swinging interior of solos, with Richie Vitale offering a full-bore trumpet solo.

Devins’ other adaptations, Dorham’s “La Mesha,” from saxophonist Joe Henderson‘s Page One (Blue Note, 1963), and Morgan’s “Lament for Stacy,” Art Blakey and the Jazz Messengers‘ S’Make It (Verve, 1963), and “Soft Touch,” also from The Procrastinator (Blue Note, 1967) are all ballads, a format not generally used for vocalese lyric writing. Devins shows herself not only capable, but quite facile in writing for instrumental ballads. Brainin’s flute gives the piece a light and airy feel, one that compares well to the previous song on the disc, the Jobim/Lees ballad, “Dreamer.” Lou Rainone kicks up in the piano solo, as does Kaminski in his bass outing.

The Procrastinator is a solid jazz vocal debut by an intelligent and thoughtful singer. Devins has one of those voices and vocal capabilities that make her express only confidence. She takea a less often traveled road and blazes a new trail in standards interpretation.

Kevin Harding and Laura Ann Singh formed Quatro na Bossa in 2003. Drawing initially from early Brazilian bossa nova composers and performers, Quatro na Bossa’s repertoire has expanded to include familiar classics, rare or forgotten pieces, and some original material. In addition to private functions and clubs, Quatro has performed at several music festivals around the country, and has been a guest artist at several universities. Quatro na Bossa comprises vocalist Laura Ann Singh, guitarist Kevin Harding, and Rusty Farmer on bass. In 2011, Andy Brockman joined QNB on drums and percussion. Laura Ann has studied with sambista Fabiana Cozza in Sao Paulo and with Oscar Castro-Neves. Kevin, who teaches at the University of Richmond and the College of William and Mary, has studied with Brazilian guitarists Romero Lubambo and Toninho Horta, and in Rio de Janeiro with choro guitarist Bilinho Teixeira. Quatro has performed with many drummers and percussionists including Robert Jospe, Rogerio Boccato, Adriano Santos and Jorge Alabe. The group has played many engagements at Dizzy’s Club Coca Cola at Jazz at Lincoln Center with guests Nilson Matta, Maucha Adnet, Romero Lubambo, and Harry Allen. Also in New York, they recorded the album Summer Samba for the Japanese jazz label Venus Records with Adriano Santos and Rodrigo Ursaia. In the fall of 2012, Quatro will participate in a concert series paying homage to the influence of bossa nova. Composer and performer Carlos Lyra will share the stage with QNB as they perform at the Berklee Performing Arts Center in Boston, the Olympia Theatre at the Gusman Center in Miami, and the Frederick P. Rose Hall at Lincoln Center and the Merkin Hall in New York. Quatro na Bossa’s arrangements and unique style aim for authenticity while showcasing the power of Brazilian music to traverse culture and language.

Kevin Harding and Laura Ann Singh formed Quatro na Bossa in 2003. Drawing initially from early Brazilian bossa nova composers and performers, Quatro na Bossa’s repertoire has expanded to include familiar classics, rare or forgotten pieces, and some original material. In addition to private functions and clubs, Quatro has performed at several music festivals around the country, and has been a guest artist at several universities. Quatro na Bossa comprises vocalist Laura Ann Singh, guitarist Kevin Harding, and Rusty Farmer on bass. In 2011, Andy Brockman joined QNB on drums and percussion. Laura Ann has studied with sambista Fabiana Cozza in Sao Paulo and with Oscar Castro-Neves. Kevin, who teaches at the University of Richmond and the College of William and Mary, has studied with Brazilian guitarists Romero Lubambo and Toninho Horta, and in Rio de Janeiro with choro guitarist Bilinho Teixeira. Quatro has performed with many drummers and percussionists including Robert Jospe, Rogerio Boccato, Adriano Santos and Jorge Alabe. The group has played many engagements at Dizzy’s Club Coca Cola at Jazz at Lincoln Center with guests Nilson Matta, Maucha Adnet, Romero Lubambo, and Harry Allen. Also in New York, they recorded the album Summer Samba for the Japanese jazz label Venus Records with Adriano Santos and Rodrigo Ursaia. In the fall of 2012, Quatro will participate in a concert series paying homage to the influence of bossa nova. Composer and performer Carlos Lyra will share the stage with QNB as they perform at the Berklee Performing Arts Center in Boston, the Olympia Theatre at the Gusman Center in Miami, and the Frederick P. Rose Hall at Lincoln Center and the Merkin Hall in New York. Quatro na Bossa’s arrangements and unique style aim for authenticity while showcasing the power of Brazilian music to traverse culture and language. (C. Michael Bailey)

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The VOCAL SOUND OF JAZZ began airing on 89.5 FM (now WHRV-FM) on January 4th 1980. Originally a 30 minute program that aired on Friday evenings, the program expanded to it current 60 minute format and moved to Saturday evenings during the 90s. It was also aired over WUOM in Ann Arbor, Michigan for a five-year period in the late 1980s.
Produced and hosted by Jack Frieden since its premiere broadcast, the program has always attempted to spotlight both jazz vocal music’s post 1950s history, as well as the new singers and songs that will continue to play an increasingly prominent role in the music’s future. With the internet’s ability to attract and entertain jazz vocal fans globally, Jack looks forward to broadening the mission and reach of the “Vocal Sound of Jazz” in coming years